Today, Wooster Collective has published the above work by street artist Zevs that is only visible using UV light and was created in the actual room that the convicted 9/11 terrorists stayed in before their infamous attack. But what does this say?
Now that the dust has somewhat settled on the Wojnarowicz and Blu censorship cases, a number of people have been chiming in about what this tells us about the state of art and our culture, specifically American culture. The numerous opinions from where I stand look dire. Here are some fascinating posts we haven’t mentioned before.
MOCA Director Jeffrey Deitch has finally broken his silence and spoken to the Los Angeles Times over the recent whitewashing of the Blu wall commissioned for the upcoming Art in the Streets exhibition, which will be the first major US museum show featuring street art.
The Associated Press has disseminated a story that props up its own interests in the Shepard Fairey Obama “Hope” copyright case. Some people are wondering if the news service should’ve filed a story with no real updates except that things are still going well for the AP.
Street art enthusiasts seem to have a thing for destructive fanaticism, but I’m not sure they realize how destructive it can be. They exuberantly consume the latest street artworks like hungry piranhas, hyping the artist and his products until there’s nothing left but an embarrassing skeleton. They get inexplicably ramped up about artists who have produced one provocative wheatpaste or had a single clever idea.
At times, the blogosphere can feel like a miniaturized version of academia. With so many voices competing over authority and pulling readers this way and that, fights are bound to break out. Just like any serious punditry, bloggers have healthy disagreements over what they cover as well as how they cover it — the etiquette of the developing world of online media. The recent spat between online art world figures Marc Schiller and Paddy Johnson is a perfect case study.